Film tear in the water glass
René Worni on dissatisfied theater operators and Cinecom.
also in cinema advertising, which he has shown in around 400 Swiss cinemas.
unrivaled via the subsidiary Cinecom. Since
Cinecom wants to introduce a different contract model, resentment is spreading among the
cinema operators. The PubliGroupe subsidiary wants to ensure that, over time, all
cinemas switch to their participation model.
Some small cinemas have therefore not renewed their contracts with Cinecom.
more and made the experience that they are
They are better off marketing their screens independently. One effect
is that local cinema advertising is getting more traction. Others
sign the "gagging contracts" with Cinecom with grumbling and
only want to commit to the marketer in the short term. If
Alternatives are available that do not require cinema advertising via the monopolist
many movie theater operators would take it immediately.
But why are there no alternatives? It wasn't that long ago,
since Cinecom introduced the electronic transmission of commercials.
has. Previously, the film reels flitted back and forth. Anyone who works in
to advertise in Swiss cinemas needed hundreds of copies of the film.
It's different now. So if you want to break the monopoly, you have to use the same
digital standard. Attempts to create an independent organization
are underway, it is said behind closed doors.
In French-speaking Switzerland, the French company Mediavision had been
continuously built up a market share of 50 percent. But until in
The French never made it into German-speaking Switzerland. They failed because of the
Cinecom's technological lead, which the French-speaking part of Switzerland
Mediavision's business and thus took it out of the market.
removed. The situation may currently be favorable for a new provider
to compete against the Cinecom monopoly. This could even
the French once again. But in the end, the resentment is a
A storm in a teacup, because many cinema operators live with Cinecom
still good.
René Worni
